阿莫索羅

馬利安諾·德·佩德羅·依·聖吉爾先生於1941年在馬尼拉直接購自藝術家
自此家族收藏至現藏家
私人收藏，西班牙

The work is in good condition overall, as is the canvas, which is clear. Upon close observation, there is evidence of minor wear and handling on the edges of the painting, along with associated paint losses predominantly on the left margin (near bottom), the sky (top right quadrant) and on the shirt of the man on buffalo. Examination under ultraviolet light shows gentle craquelures scattered throughout the surface, mainly on the sky area; however, no restoration was found. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

 “The years 1920 to 1945 stand out as Amorsolo’s Golden Period. …He invested rural people with dignity and country life with a feeling of contentment. His works captured the optimistic spirit and grace of peacetime Philippines, before the Pacific War of 1941 – a time of innocence for the Philippines,” writes art-essayist Alfred R. Roces.¹

La Cosecha (The Harvest), painted in 1939, is one of Amorsolo’s prized pre-war works. Set in the rural countryside, the present work depicts a man harvesting crops while a younger boy sits atop an ox, resting. Coming out from under the shady hut, a beautiful Filipina mother and her son keep them company. The child reaches out for the man who is perhaps his father. Behind them, the fields extend into the distant dreamy mountains. Amorsolo’s signature use of natural sunlight illuminates the scene with a warm, serene glow. The blue of the child’s shirt, the spots of yellow on the woman’s skirt, the fresh green of the crops, all these vibrant colors infuse the painting with happiness and tranquility. With abounding vegetation, gentle smiles, and familiar human interaction, this painting is filled with life.

Amorsolo was known for these romantic depictions of pastoral life. At a time when urbanization was under way, the artist was drawn to the places he called home, the hills and rice fields. With war impending, Amorsolo painted La Cosecha (The Harvest) as a snapshot of the fleeting beauty of the Philippine landscape. The painting also highlights Amorsolo’s appreciation for the activities of communal unity, and engrained in Filipino life and culture, such as planting and harvesting rice. La Cosecha (The Harvest) captures a universal love among people. The mother and son’s embrace may be an ordinary and simple gesture, but these were the human interactions that Amorsolo found to hold the most beauty. He rejoiced in the lives of the rural people— the farmers, the vendors, and the women performing their daily chores.

Amorsolo chose to paint the beauty and innocence around him, even though in 1939 he was experiencing increasing disruption to his nation and culture. It was a conscious decision to paint the good, rather than the bad. In La Cosecha (The Harvest), for example, Amorsolo chose to paint and celebrate the happiness and grace he saw in his people as they toiled under the sun. Thus, not only was Amorsolo an artist with an unparalleled understanding of form, light, and color, he was also a man who loved the world around him. La Cosecha (The Harvest) is Amorsolo’s effort to hold onto the life, love, and beauty surrounding him before they slipped away.

¹Alfredo R. Roces, Amorsolo, Filipinas Foundation, Inc., Philippines, 1975, p.384